just the two of us then? where is everyone ? dont they realize the sonic genius that is passing them by????why doesnt everyone want/need desire a wretch??? how do they live full rich colourfull
lives without one???

whats with soft synths??? i tried a few

what a load of BOLLOCKS

and wow such fun to use ... there must be an angle... do they get you laid by swedish girls .. errrrrr NO so what is the point .. i mean i grante the wretch aint going to get you laid either but at least its fun to use..

It's a bit like how everyone says that they want a smart girlfriend, but very few can handle it. It's easier to deal with the standard design. The insensitive user will obtain little more than BN6 distortion from the Wretch. For that much money, people seem to want a vintage clone or a modern, closed architecture system. Face it. We're freaks.

The Wretch is a living thing, which is why it is not for a lot of people. Even when I am using the oscillators alone in my modular, which results in more predictable behavior, there is that touch of randomness that suggests the sound of acoustic ensembles. I can't get enough of it. It's harder to use than anything else, but a method of working that can overcome the Wretch can unlock hidden power in a modular.

The Wretch is a living thing, which is why it is not for a lot of people. Even when I am using the oscillators alone in my modular, which results in more predictable behavior, there is that touch of randomness that suggests the sound of acoustic ensembles. I can't get enough of it. It's harder to use than anything else, but a method of working that can overcome the Wretch can unlock hidden power in a modular.

I have always enjoyed reading your comments on the Wretch and other Metasonix devices. Your comment above is a good example, and I cannot help but agree. No, it's not for everyone. Modulars aren't for everyone either. To each one's own._________________Garret: It's so retro.
EGM: What does retro mean to you?
Parker: Like, old and outdated.Home,My Studio,and another view

Thanks. Your demos help to show the versatility of the machine. Without any obvious distortion, the sound is still unique and alive. I just read a surprisingly positive review in Sound on Sound. It seems that the reviewer's wife was not pleased with it, but he was able to get past the usual propaganda and recognize the historical importance of this instrument. But even if it is properly identified, it's appeal will be limited. Sadly, most people seem to desire ease and uniformity. Happily, that leaves me in more pleasant company!

I just read that same review, and it's funny how he uses many of the same adjectives and analogies I use to describe it. He did not use the word "cantankerous" however.

I am going to try something with drones in it, and make the Wretch the low part. I haven't really explored the low end of it as much as I should._________________Garret: It's so retro.
EGM: What does retro mean to you?
Parker: Like, old and outdated.Home,My Studio,and another view

Hi! Maybe we're four then. I think I have the only one in Sweden, or so I'm told. It's wonderful, but I could never afford it unless I was very lucky finding a used one when the dollar was very low.

I agree with most comments above! The uncontrollability is part of the charm. But I always liked controlled randomness, and to tame sonic beasts, of many forms...

To be honest, I've only (metaphorically) scratched the surface of this machine, so far, played it with the Doepfer Ribbon and done some experiments. Plan to use it together with my little Doepfer modular and my Nord G2s. I think they complement each other nicely.

What serial number do you have, and have you got the right power supply for it?_________________Garret: It's so retro.
EGM: What does retro mean to you?
Parker: Like, old and outdated.Home,My Studio,and another view

Thanks! Mine is serial number 26. I bought it used from Analogue Haven a few months ago (wouldn't trust to get a fragile machine like this on ebay). By some reason it is missing the "beershield" over the tubes, but that's not a big problem.

The power supply issue is a story of its own. I got one wallwart (the original?) with it, American plug/voltage. I used that with a step-down transformer, well within specs (85W). After a few days, though, I noticed that the combined heat from the two transformers - which were placed on top of each other - made them melt together! And probably blew a heatfuse or something. I couldn't even bend them apart, and I didn't know if my precious Wretch was hurt! Horror. A normal AC/AC wallwart was nowhere to be found in Sweden (alla available models had too few amperes), so I decided to go for a pro thing, with some margins to the stated 3A. I bought this 5A supply from a online pro store for electricians:

So, you have sn#24, #25 is in France, and #26 now in Sweden! Nice. And I'm not the only one getting melted american power supplies, obviously. Good to hear (sort of...). Too bad it melted my step-down transformer too, could have been useful to other things. I'm just glad my Wretch is OK.

So, you have sn#24, #25 is in France, and #26 now in Sweden! Nice. And I'm not the only one getting melted american power supplies, obviously. Good to hear (sort of...). Too bad it melted my step-down transformer too, could have been useful to other things. I'm just glad my Wretch is OK.

Happy noise-making.

/Palle

Yes, I was the one who got the European power supply problems out in the open. Eric has been more than helpful getting the word out on his site about it, and the European dealers (well, mine anyway) have been extremely responsive to this issue.

So long as you're feeding an honest 3A of 12V AC to the Wretch, it'll be fine, I oversized my transformer (I use the HIT-60 as you have probably read) so if I come across any other Metasonix kit in my travels I have some extra capacity.

Post some of your noises when you get time!_________________Garret: It's so retro.
EGM: What does retro mean to you?
Parker: Like, old and outdated.Home,My Studio,and another view

Oh yeah, and here's some fun with the Wretch (and a couple of other bits).

The dominant sound is the Wretch. There is some assistance from my AM3030 VCO fed through the Encore frequency shifter, to an SSM2044 filter (this is the counterpoint to the sequence), and some low end from the Moog, but the predominant sound is the Wretch being driven from a Blacet Binary Zone, along with the other stuff. I "compensated" for the difference between 1V/Oct and V/Hz by putting the CV through an attenuator at about 3/4 which for the range of the Wretch isn't that bad, especially for stuff like this.

Remember the Wretch drifts all over the place, so constant attention is a good idea. I keep forgetting how much fun this instrument is to explore.

Right, so to describe the noodle - VCOs are at high range, most of this is messing with the VCO frequencies, and the filter which is at high mostly, also the shaper is in, the pulser comes in and out, but you might not know when if you have not heard it before, and I have not changed the envelope throughout this exercise.

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